苦中作樂：從抗爭的藝術與身份認同看2019年後香港的網絡改編歌

Happiness in Suffering: The Art of Resistance and Identity in Post-2019 Online Cover Songs

2019年香港經歷大規模的「反修例」街頭抗爭，2020年6月30日《港區國安法》生效後，表達及言論自由空間都受到關注。雖然於公共空間用音樂表達異見似乎難以復見，但過去幾年網絡上興起大量帶政治色彩的粵語改編歌，成為一種新興的表達另類聲音之方法。本文從無權者抗爭的手法及跨代懷舊的角度出發，透過表演性及互文性的閱讀，探究網絡改編歌的社會功能。這些作品在維持抗爭的士氣及推動政治暗湧之同時，其實也在建構一個想像共同體、一個另類的政治論述以及一段文化史。本文的目的除了要政治化改編歌的研究外，還想藉著探究改編歌在改變抗爭的形式及空間的潛能，豐富抗爭音樂及抗爭文化的論述。

In 2019, Hong Kong experienced large-scale anti-extradition protests. Since the“Hong Kong National Security Law”took effect on June 30, 2020, concerns about freedom of speech and expression have intensified. Although dissenting voices expressed through music may be largely absent from the public sphere, a significant number of politically charged Cantonese cover songs have emerged in online spaces over the past few years. These songs have emerged as a means of articulating alternative voices. This article explores the social significance of these online cover songs through performative and intertextual readings. Specifically, it approaches their social function through the lenses of resistance among the oppressed and intergenerational nostalgia. Beyond sustaining the momentum of resistance and channeling latent political sentiments, these songs also help construct an imagined community, an alternative political discourse, and a cultural history of Hong Kong. In addition to politicizing the study of Cantonese cover songs, this article aims to enrich the discourse of protest music and protest culture by exploring their potential to transform the forms and spaces of protest.